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Ponte, Alessandra, and Georges Teyssot. "18th-Century Air Conditioning and Purifying: Homage to Carl B. Wadström and George Kubler." Architext 9 (2021): 8–16. http://dx.doi.org/10.26351/architext/9/1.
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The paper presents a compelling early example of mechanical air conditioning for the dwellings of Europeans in a colony in West Africa at the end of the 18th century. The scheme was published by the Swedish engineer and abolitionist Carl B. Wadström in An Essay on Colonization (1794–1795), a well-informed compendium of the strategies and politics of colonization implemented by European powers. Wadström’s ingenious air-conditioned house appeared in a 1944 article by the eminent art historian George Kubler under the title “The Machine for Living in 18th-Century West Africa.”
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Klyushina, Elena V. "Rhino mania in the Western European Art of the 18th Century." Actual Problems of Theory and History of Art 8 (2018): 28–37. http://dx.doi.org/10.18688/aa188-1-2.
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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.
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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
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Karyakina, Tatyana Dmitrievna. "The Allegorical and Symbolic Meaning in West European Porcelain Craft of the 18th Century." Исторический журнал: научные исследования, no. 2 (February 2020): 30–37. http://dx.doi.org/10.7256/2454-0609.2020.2.32607.
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The article takes a look at the works of various porcelain manufactories: Italian Docchia, German Meissen and Nymphenburg, Viennese and French Sèvres. These works are subject to allegorical interpretation and symbolic meaning. This content feature is one of the characteristic features of Baroque and Rococo art. The author pays particular attention to the identification of allegorical attributes and specific elements of form and decor that carry symbolic meaning. Porcelain artifacts, the authors of which are prominent European masters (Soldani, Kändler, Eberlein, Bustelli, Niedermeier and Fournier), are examined in detail. These kinds of decorative and applied arts reflected the unique worldview of a person living in the 18th century - the period of Enlightenment. The following methods of art history laid the foundation for this study: the formal-stylistic and iconological analyses of porcelain artifacts, which enabled the author to identify the semantic content of examined images. The scientific novelty of this article lies in the fact that for the first time in Russian art studies, a comprehensive study of the works of 18th-century porcelain crafts from different countries was carried out in order to identify their symbolic meanings. A detailed study of these works gives the author reason to conclude that bestowing artifacts with symbolic content is characteristic of Baroque and Rococo art, and that these works reflected one of the features of the figurative art system of the 18th century.
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Портнова, Ирина. "Russian Animalier Art in the XVIII- XIX Centuries in the Context of European Schools: The Origins and Nature of Development." Space and Culture, India 9, no. 1 (June 24, 2021): 50–65. http://dx.doi.org/10.20896/saci.v9i1.1135.
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This study delves into the process of development of Russian animal art of the 18th-19th Centuries. The primary purpose of the research was to make a review of these two historical periods, which determined the typical features of the early and mature periods of development of animal art in Russia—the time of the birth and development of the genre. According to the author, genre issues are important, and talking about it is necessary to define the image of the animalistic nature in all its specificity. In addition, it is noted that researchers do not characterise the stage of early Animalism, which first appeared in the 18th Century, sufficiently. Nevertheless, this genre has demonstrated all the love of artists for the real perception of the natural world and their sincere will to create its truthful and reliable reflection in their works. This tendency is typical for Western European Art. At the same time, it has been explicitly expressed in the works of Russian animal artists. Compared with European Animal Art of the 17th-18th Centuries, Russian ‘Kunstkammer drawing’ and how the class of ‘animal and birds’ was organised looked like a real innovation. These two factors have contributed to the creation of a full-fledged animalistic image. The author underlines that the main principle of imitation of nature was at the basis of teaching in the Russian school. It eventually led to the formation of the genre with its complex, distinctive features. These unique features was observed in the animal art of the 19th Century, mainly in the form of hippique images.
Nevertheless, there was an attempt to combine two separated historical periods— the 18th and 19th Centuries, which demonstrated different images, approaches (animal naturalia of the 18th Century and horse characters of the 19th Century). The author, here, tends to talk about Russian Animalism of the 19th Century, one of the most explored ones. Doing so underlines the importance of animal art of the two periods as a historically conditioned cultural phenomenon in the relationship between genres of Fine Art and trends of the time. The historical and artistic method made it possible to identify the connection between these two eras in which Animalism was expressed significantly. Its originality is that it combined two diverse eras into one national whole.
Submitted: December 20, 2020; Revised: 12 February 2021; Accepted: 8 April 2021
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Spalva, Rita. "Ballet Art Reforms During the Enlightenment." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 436. http://dx.doi.org/10.17770/sie2015vol2.427.
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<p><strong>T<em>he article focuses on</em></strong><em> identifying the essence of the 18th century ballet reform within the context of contemporary ballet art. <strong>The chosen topic </strong>is explored through the monographs of Sergey Hudekov and Vera Krasovska, works of Jury Sloņimsky, Richard Kraus, Sarah Chapman Hilsendager, Brenda Dixon, B. and other dance researchers. In Latvia this topic has been addressed by R. Spalva in the monograph Classical Dance and Ballet in European Culture. <strong>The aim of the article </strong>is to analyse preconditions of 18th century ballet reforms, as well as to recognise the essence of reforms and their impact upon further development of ballet art. <strong>Research subject </strong>- ballet reforms of the Enlightenment era and contribution of Jean-Georges Noverre to their realisation. <strong>Research methods </strong>- scientific literature analysis, dance theory and history research. </em></p>
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Neglinskaya, M. A. "Часовая коллекция Цяньлуна (1736–1795): первое собрание европейского искусства в Китае." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 168–75. http://dx.doi.org/10.46748/arteuras.2020.04.014.
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Many of European clocks in the Beijing’s Palace Museum (Gugong) were made in second half of the 18th century, by the Qing Emperor Qianlong’s governing (1736–1795), when an exotic “Chinese style” (chinoiserie) in the decorative arts was at its height. The research methodology proposed below, which combines art history and cultural analysis, allows us to see, that the Palace Collection’s mix determined evolution of the clock’s industry in China and some European lands, who took part in the international clock and watch market. In forms and decor of Chinese clocks the 18th century were reflected the change of European market. Together with western mechanical clock, being at the same time scientific device and work of decorative art, the European styles system was by ritual participation admitted in China. В статье показано, что западная часовая коллекция Цяньлуна (1736–1795), явившаяся первым в империи Цин (1644–1911) собранием произведений европейского искусства, связана с художественным рынком и феноменом шинуазри. Предложенная ниже методология, сочетающая искусствоведческий и культурологический подходы, позволяет увидеть, что состав этой коллекции повлиял на развитие производства механических часов в самом Китае и западных странах — участницах международного рынка искусств XVIII века. Собирательство механических хронометров в государстве Цин было обусловлено ритуализацией часов, устранившей проблему дуализма китайского и западного начал в цинской культуре и искусстве.
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Malik, Jamal. "Muslim Culture and Reform in 18th Century South Asia." Journal of the Royal Asiatic Society of Great Britain & Ireland 13, no. 2 (July 2003): 227–43. http://dx.doi.org/10.1017/s1356186303003080.
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AbstractUsually the European perception of South Asia and, related to it, academic research into this region, is informed by specific, powerful images and metaphors that establish a dichotomisation of the world. The reasons for this development cannot be analysed in detail here. Suffice it to say, however, that this organisation and designation of the world has deep roots. Until the Reformation, Europe was basically perceived only in terms of geographical boundaries. But the dichotomy between “Europe” and “Asia” acquired a new dimension in the seventeenth and eighteenth centuries, when, in the wake of a change of paradigm into modernity, European self-consciousness gradually developed into a sense of European intellectual superiority. Just as a new form of collective identity had developed within the boundaries of Europe, based on the idea of “nation” in the late eighteenth century, and just as the members of the early nation-states forcibly dissociated themselves by definition from members of other societies in order to be able to establish their own identity, now, with the same intention, though on a different level, Europeans dissociated themselves from “Asia”, the “Orient” and “Islam”. The political recollection of important master narratives kept the mythical fictions in mind and imbued the nation-building process with enormous real power. This development towards a modern European identity was based, as can be deduced from many travellers' testimonies, on the history of reception, reciprocal perceptions, and the development of enemy images. In this process, the Orient and the Orientals were also used by Europeans as a didactic background for the critique of their own (European) urban societies. The literary technique of contextual alienation and distancing, such as can be found in Montesquieu's “Persian Letters”, was born in this period. These and following processes of projection were connected among others things with the fact that Europeans, as colonial masters, advanced to confront the world outside Europe. There they were faced with attitudes and norms that forced them to question their own perceptions. In doing so, they also tended to accept some of these strange and different ideas, and, thus, exposed themselves to cultural hybridisation which could then only be overcome by the reconstructing of their own culture as something “pure”, in contrast to the “degenerate” culture of the colonialised. In this way, collective antagonisms developed. Even the Oriental crusades that had been critically evaluated by European academicians, were now for the first time perceived in terms of cultural clash. Analogously, Europe and Asia were constructed in the eighteenth century and very predominantly in the nineteenth century in terms of arenas of power politics. For instance, it was during this time that the eastern borders of Europe were conceptualised, with the Balkans and Transoxania being considered as buffers or gaps between the two.
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Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries." Ploutarchos 14 (October 30, 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.
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In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.
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Fekete, Albert, and Peter Gyori. "Chinese pavilions in the early landscape gardens of Europe." Landscape architecture and art 18 (October 7, 2021): 78–87. http://dx.doi.org/10.22616/j.landarchart.2021.18.08.
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The image of China perceived by the Europeans in the 17th to 18th century was based on the travelogues of the travellers and missionaries. Despite the fact that the first descriptions did not include any pictures of the world, people and landscapes described, the far exotic country with its history and tangible heritage became very popular. This article deals with Chinese pavilions (pagodas, teahouses) built in the early European landscape gardens before 1750 without any architectural plans, using only sketches based on descriptions and travelogues, since in the first half of the 18th century, no relevant technical guidance was available yet. The structures reviewed started to be used frequently in European gardens and public parks from 1750’s, having an inevitable influence on the garden pavilions built from the second half of the 18th century, and indirectly to the image and character of some influential gardens in European context. Moreover, through their craggy appearance, the Chinese pavilions – as eye catchers – played an accentuated compositional and spatial role too in the European garden history.
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Levkovych, Natalia. "Artistic Features of Besamims in Eastern Galicia in the 18th – the first third of the 20th Century." Studia Żydowskie. Almanach 5, no. 5 (December 31, 2015): 13–28. http://dx.doi.org/10.56583/sz.481.
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The paper focuses on the art of the Jewish community of Galicia from the 18th century to the first third of the 20th century in the context of the European art processes. The analysis of the artistic features of numerous synagogical and household items of the ritual purpose revealed the main trends of particular styles spread, especially baroque and historicism. Special attention is paid to the sources and the artistic inspiration of Jewish art in Galicia. The main circumstances that influenced the development of Jewish art are determined, namely the isolation of the Jewish community, the traditional ideological and semantic load of the monuments, the abidance by the halakhic rules, scriptures on the creating things for ritual and ceremonial purposes, keeping the old traditions in the choice of form, the nature of ornamentation, strict selection of decorating themes and in particular cases even the reproduction of archaic forms. While maintaining the traditional form, the ideological and semantic load for the majority of works of applied arts of the Jewish community of Galicia in the 18th century – the first third of the 20th century, the choice of a composite structure, grouping and ornamental motifs interpretation is influenced by the stylistic effects of Western art. The numerous preserved monuments indicate the openness of masters to the outside art influences, borrowing and basic elements quoting and leading Western styles tendencies as well as Ukrainian art.
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Borovkova, Natalia V. "Lapidary Art of the Altai and the Urals of the Late 18th — 19th Centuries: The Russian Cultural Phenomenon and European Influence." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 291–303. http://dx.doi.org/10.15826/izv2.2021.23.3.060.
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The study of Russian stone-cutting art remains an important and urgent task of contemporary Russian art history. It is necessary to take a fresh look at this direction of Russian decorative art and find out whether Russian stone-cutting art is an internal phenomenon, or it is based on European borrowing. This article refers to works of stone-cutting enterprises of the Urals and the Altai, i. e. Yekaterinburg and Loktevsk Manufactories, which worked exclusively at the order of the Cabinet. In the late eighteenth century, there was a system for ordering stone products in Russia. To do this, they formed sets of “samples” of natural ornamental stone from Russian deposits and compiled albums of product projects. When sending an order to the factory, they attached a sketch and indicated the number of the stone which the product was to be made of. A complex analysis of Russian stone-cutting art testifies to the fact that it followed European fashion, traditions, and technology. European specialists were invited to Russia in order to organise stone-cutting production. Also, travellers brought elegant artworks made of decorative stone by European masters. By the late eighteenth century, stone-cutting production had come a much longer way in Western Europe than in Russia. The production of works of art made of stone was carried out in Italy, France, England, Sweden, and other European countries. Russian commissioners wanted to obtain similar items, and the masters imitated and reproduced European originals. When comparing designs of decorative vases, one can see an undoubted influence of European analogues. However, if there is an obvious similarity to their decorative design, Russian masters are characterised by the ability to reveal the unique aesthetic properties of the material. At the first stage, the influence of European masters was not to be argued, but later on, Russian stone-cutting art began to acquire its own unique features, although it developed along the lines of the dominating pan-European stylistic trends.
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Agratina, Elena E. "PIERRE-JEAN MARIETTE. THE CONNOISSEUR AND ART PATRON IN THE 18TH-CENTURY EUROPEAN ARTISTIC MILIEU." Articult, no. 3 (2019): 63–70. http://dx.doi.org/10.28995/2227-6165-2019-3-63-70.
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Abdullina, Darina A. "The “Allegorical Ornateness” in Children’s Portraits of the 18th Century." Observatory of Culture 17, no. 6 (February 10, 2021): 616–25. http://dx.doi.org/10.25281/2072-3156-2020-17-6-616-625.
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The article considers the emergence and development features of the symbolic and emblematic system of children’s portraits in the 18th century. Children’s portraits, as well as the history of childhood in general, attract more and more attention of Russian and Western researchers; the largest museums of the country and the world devote their exhibition projects to this subject. This paper shows, for the first time, how symbols have been “reinterpreted” in accordance with the changes in the attitude of Russian society to the nature of childhood and in the artistic environment at that time, the “formulas” of its presentation in art. The article considers in detail the specifics of using a number of attributes by Russian artists in the context of children’s portrait images: books, floral symbols, animals and birds, toys and other items. As examples, there are considered the works of “capital” and “provincial” artists of the 18th century: I.Ya. Vishnyakov, F.S. Rokotov, D.G. Levitsky, V.L. Borovikovsky, as well as a number of authors whose names remain unknown. Special attention is paid to the issue of borrowing symbols, signs and metaphors from Western European art, their adaptation and transformation in Russian painting, taking into account national ideas about children and their subject environment. The article concludes that the children’s portrait symbolic sphere went through a difficult path during the 18th century, from a tool for personifying the male or female adulthood of a young model to creating the image of a child as a romantic symbol of the world of childhood, an elusive ideal.
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Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.
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During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with different levels of preparedness. This “social demand” resulted in the appearance of the two-staff form of notation, endowed with traits of a quasi-score, which it was customary to call the keyboard urtext. However, this music can be termed as being for the keyboard only upon the condition of their performance on the organ or the harpsichord. The structure of the “two-staff scores” from the 17th and 18th centuries possesses immense possibilities, since it presents a universal form of notation for ensemble and orchestral compositions in convolved form. As the result of the traits of the quasi-score, the baroque urtext became a unique phenomenon, a peculiar “mirror of the epoch”, which registered numerous 17th and 18th century musical instrumental clichés, scenes of music-making in duos, trios, and even images of groups of the baroque orchestra — the solo and the continuo. A sort of mirror reflecting pictures of music-making and ensemble groups was provided by the art canvases of 17th and 18th century painters.
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Opanasiuk, Oleksandr. "Modernism and Postmodernism: Objectivation of the Content of Phenomena." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 99–118. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251810.
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The phenomena of modernism and postmodernism are studied. Modernism and postmodernism are analyzed in the context of the project Modern, which belongs to European culture and determines its development in the direction of modernization of history. It was found that the dynamics of the Modern project is determined by four phases of development, they largely coincide with the periods of formation of European culture: 14th –16th — the first phase of development of the Modern project (5th – 16th centuries — symbolic period of European culture); 17th – 18th centuries — the second phase of the Modern project (17th – 18th centuries — classical period of European culture); 19th century — the third phase of the Modern project (19th century – romantic period of European culture); late 19th – 21 st centuries — the fourth phase of the Modern project (late 19th – 21 st centuries — intentional period of European culture). This objectifies modernism and postmodernism as phenomena, the content of which is determined by the final phase of the Modern project and the final (intentional) period of European culture. Emphasis is placed on the possibility of interpreting modernism and postmodernism as one phenomenon — modernism-postmodernism. It is stated that postmodernism correctly defines the content of cultural and artistic life of the present, but does not explain the laws of cultural formation, bypasses the future development of culture and art, focuses on its concepts and resorts to semantic transformations of the idea of “afterˮ: afterpostmodernism, after non-classical thinking, theses such as postmodernism after modernism, etc. This explains the limitations and inability of postmodernism to cultural creativity. Comparing the semantic foundations of the theory of modernism and postmodernism with the concept of intentionalism of culture and art opens a new perspective in the analysis and ontology of modern and postmodern intentions and cultural and artistic life in general.
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Pramutomo, R. M., and Riva Amelia. "Westerncentric in the Design of Costumes in Javanese Dance Opera in the XVIII Century." International Journal of Culture and History 8, no. 1 (March 25, 2021): 82. http://dx.doi.org/10.5296/ijch.v8i1.18436.
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The 18th century Javanese performance art has given an artistic expression of the aristocrats known as the Langendriya genre. Langendriya's performing arts are the creativity of the Yogyakarta royal aristocrats who are recognized as the prototype of Javanese opera art. The creator of the Langendriya opera is Prince of Mangkubumi, the younger brother of Sultan Hamengku Buwana VII, the seventh king of the Yogyakarta kingdom. In the process of creation, Prince of Mangkubumi was assisted by his two sons, KRT. Kertanegara and KRT. Wiraguna. Through KRT Wiraguna figure Langendriya opera fashion design gets a European touch by combining Western designs and Javanese designs. This article wants to reveal the uniqueness of the Western design model applied to the Javanese designs created by KRT Wiraguna. As a new creation, the combination of Western and Javanese works by KRT Wiraguna became phenomenal in the 18th century. This article is written using historical methods combined with ethnochoreological methods as the scientific basis for opera drama. Therefore, ethnocoreological analysis will be useful in the application of design in the form of the body of the dance opera that is presented.
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Schmale, Wolfgang. "Critical Note: Representations of the continents by means of allegorical figures in the early modern period. (Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, Brill, Leiden 2020)." Diciottesimo Secolo 7 (November 18, 2022): 147–52. http://dx.doi.org/10.36253/ds-13179.
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In the early modern period, the representation of the continents by means of allegorical figures enjoyed great popularity. The book Bodies and Maps: Early Modern Personifications of the Continents, edited by Maryanne Cline Horowitz and Louise Arizzoli, is very stimulating, richly documented and fundamental with regard to the detailed source-critical examination of concrete individual visualisations of the continents. The focus of the book rather lies with the 16th century, while part 5 focuses on the 18th century. In the 18th century, continent allegories entered into the public sphere and reached broader strata in the society. In this century, Eurocentrism progressed considerably, but did not invent it. The volume’s co-authors pose the question of Eurocentrism as well as that of racism with regard to the late Middle Ages and the 16th century. Because of their widespread use, continent allegories can be counted among the most important primary sources from which we can draw conclusions about how extra-European cultures could be represented, interpreted and viewed from a European perspective. They represent much more than just an art-historical source, they are, especially when one thinks of their accessibility in public spaces for everyone, actually a historical source of the first rank, behind which not least travelogues and theoretical concepts such as the history of civilisation as a universal history compete with the Christian history of salvation in the Bible.
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Zubkov, Nikolai N. "The Style of the 18th Century German Poetry Book." Observatory of Culture 18, no. 6 (December 21, 2021): 638–47. http://dx.doi.org/10.25281/2072-3156-2021-18-6-638-647.
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The article considers a question mainly unexplored — the history of German book art of the 18th century. There are outlined the main trends in the evolution of German books and highlighted their stylistic varieties. The “archaic” style, inherited from the 17th century, has its characteristic disharmony, rough types, and eclectic ornamenting. It remains relevant until the 1770s. From the 1730s, a style called here the “Leipzig classic” strives to overcome the limitations of the archaic. Its development is related to the partnership of the poet J.C. Gottsched and the publisher B.K. Breitkopf, and to the short period in German literature when classical standards prevailed. Probably, the Leipzig publishers’ practice directly affected the Russian book style of the third quarter of 18th century. In the 1750s, the literary program of the writer J.J. Bodmer and the circle of Zurich writers, opponents of J.C. Gottsched, fused with the publishing program associated with an attempt of some fundamental reforms. Bodmer himself, and later the poet Salomon Gessner, were co-owners of the largest Zurich publishing company. Through that, the original “Zurich” style appeared, heralding the future book “empire” style. Its most characteristic features are the Roman-faced type instead of the Gothic type and the lack of ornamentation. The end of the century typography is marked by some further evolution of the “Leipzig classic” style, the Gothic type standardization, and later the Roman-faced type standardization as well (“Walbaum” type). Consequently, German books of the 18th century represent a complex and uneven evolution, with huge regional differences and directly or indirectly related to the development of national literature, which is a phenomenon that cannot be observed in other European countries.
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Vilensky, Jan E. "European Porcelain of the 18th Century as an Artifact and an Art-Object or the Compotier’s Story." Actual Problems of Theory and History of Art 8 (2018): 637–44. http://dx.doi.org/10.18688/aa188-7-62.
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Tereshkina, Oksana L. "West European Art from the Point of View of the Academy of Arts’ Pensioners of the Second Half of the 18th Century (the Problems of Interpretation)." Observatory of Culture, no. 5 (October 28, 2015): 57–61. http://dx.doi.org/10.25281/2072-3156-2015-0-5-57-61.
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Studying of the interpretation of the West European art by the pensioners of the Academy of Arts is an analysis of the interpretation’s components: the choice of art directions, styles and schools; the preference of their personal attitude; the assessment of a specific piece of art; the terminology as an indicator of their either professional or amateur position. The choice of art directions depended on the system of art views existing in the Academy of Arts in the second half of the 18th century. The Academy focused the attention of its students on the art of Antiquity, Renaissance and Classicism. Nevertheless, the pensioners spoke well on the works of Baroque. They used to prefer the art of old masters to the modern art. The specialization of a pensioner illustrated their assessment of the masterpieces. The professional terminology helped to make the description and assessment. The advent of treatises on the art in Russia made possible using the terminology.
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Imbert, Isabelle. "Patronage and Productions of Paintings and Albums in 18th-Century Awadh." Journal of Islamic Manuscripts 12, no. 2 (April 30, 2021): 174–201. http://dx.doi.org/10.1163/1878464x-01102002.
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Abstract During the 18th century, Faizābād and Lucknow became strategic centres of painting production in Northern India. Encouraged by the patronage of European collectors, but most probably by unnamed Indian patrons as well, the region experienced an intense period marked by the large number of albums and paintings in circulation. Based on the in-depth analysis of a selection of albums, paintings, and manuscripts, this article aims to highlight the evolution of compilation practices and painting productions. Full-page flower paintings, in particular, became increasingly popular in muraqqaʿ, to the point where calligraphic panels were completely replaced by colourful plants. Floral designs also appear in the margins, and the repetition of motives and patterns on several pages of different dimensions revealed an extensive commercialization based on a standardized production. In addition, the collections of European collectors such as Antoine-Louis Polier and Jean-Baptiste-Joseph Gentil bear the traces of commercial transactions between European and Indian collectors, as well as prices and possession marks. Together with their writings, correspondences, and memoirs, they bring new information on previously unknown Indian collectors, and more generally on the dynamism of the 18th-century book market.
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Repanić-Braun, Mirjana. "18th Century Painting and Sculpture in Northern Croatia in the Context of Central European Art. Surpassing the Boundaries." Acta Historiae Artium 49, no. 1 (December 1, 2008): 337–50. http://dx.doi.org/10.1556/ahista.49.2008.1.37.
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Афанасьева, Анна Николаевна, and Сергей Евгеньевич Винокуров. "Meissen‘s porcelain sculpture «Flower-girl» of the xix century in the context of migration of models." Академический вестник УралНИИпроект РААСН, no. 1(52) (March 30, 2021): 65–71. http://dx.doi.org/10.25628/uniip.2022.52.1.011.
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В статье представлен опыт атрибуции произведения фарфоровой пластики Мейсенской мануфактуры середины XIX века из собрания Екатеринбургского музея изобразительных искусств. Приводятся сведения об источнике модели рассматриваемого произведения и его художественных особенностях, раскрывается контекст практически одновременного появления в ассортименте как немецких, так и отечественных фарфоровых предприятий произведений, созданных по одной модели. Рассмотренный кейс позволяет сделать вывод о достаточно высокой степени условности художественных границ в европейском искусстве XVIII-XIX веков и активизации процессов миграции художественных моделей в европейском декоративно-прикладном искусстве эпохи историзма. Статья подготовлена на основе доклада, озвученного на VII Всероссийской научно-практической конференции «Проблемы атрибуции памятников декоративно-прикладного искусства XVI-XX вв.», которая состоялась 19-21 октября 2021 г. в Государственном историческом музее (Москва). The article presents the experience of attribution of a work of porcelain sculpture by the Meissen manufactory of the middle of the 19th century from the collection of the Yekaterinburg Museum of Fine Arts. The article provides information about the source of the model of the work in question and its artistic features. The context of the almost simultaneous appearance in the assortment of both German and Russian porcelain factories of sculptures created according to the same model is revealed. The considered case allows us to conclude that there is a high degree of conventionality of artistic boundaries in European art of the 18th - 19th centuries, and the intensification of the migration of models and samples in European decorative art of the period of historicism The article provides information voiced in the framework of report of VII All-Russian scientific and practical conference “Problems of attribution of artworks of decorative arts of the 18th-20th centuries”, which took place on October 19-21, 2021, at the State Historical Museum (Moscow).
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Gh. Vlăsceanu, Mihaela. "FORMULĂRI STILISTICE ÎN ARHITECTURA TIMIȘOAREI ȘI VÂRȘEȚULUI (SEC. XVIII-XX). STUDIU DE CAZ: PALATELE PRELAȚILOR ORTODOCȘI SÂRBI." ИСХОДИШТА 1, no. 7 (July 8, 2021): 85–94. http://dx.doi.org/10.46630/ish.7.2021.6.
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Being monuments endowed with ideological dimension, the Orthodox Bishopric Serbijan palaces from Vârșeț and Timișoara present interesting stylistical evolutions, from 18th century’s late Baroque to 20th Century Viennese Secession. Symbolizing the power of Orthodox Church rulers, these constructions adopted the Catholic Baroque style, crossed through the Romantic period with the rebirth of neoclassical values and ended in what was configured at the beginning of the 20th century as the closure with the academic dimension and the introduction of the Secession style. The hypothesis of the paper states the importance of European artistic values in defining identity, as the case of these two palaces with their evolution, an evolution that culminated in synthesis. Art patronage from this perspective has implications for the evolution, as such, the two monuments illustrate Serbian religious authority and its reaction to the modern art. In this case the palaces stand as hallmarks for the ecclesiastical architecture of the Banat, a focal point in the general phenomenon.
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Galina, Gulnaz S. "The Role of City Culture in the Formation of the Bashkir National Art of the Pre-Revolutionary Period." ICONI, no. 1 (2020): 46–56. http://dx.doi.org/10.33779/2658-4824.2020.1.046-056.
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The article presents some basic information about the development of city musical culture in the Orenburg gubernia and in Ufa during the pre-revolutionary period. The regularity of the formation of the phenomenon of the city cultural milieu is traced by the examples of such components as concert and theatre practice, in the context of which the foundations of compositional and performance professionalism indispensable for the development of European genres were perfected. As the result of an overview of various forms of musicmaking at home and the concert and theater practice, the foundations of which had been installed by the direct bearers of European culture itself — Polish insurgents banished to the gubernia in the 18th century — the fact is substantiated that the Russian-European academic musical tradition conditioned the environment due to which national concert life was established in the early 20th century. It is proven that the Europeanization in Bashkir culture began not during the period of the Soviet cultural development, but on the wave of Jadidism in the activities of the new-method madrassahs, which in the beginning of the previous century became the main centers for sacred and secular culture. At the same time, the emergence of combined Tatar-Bashkir dramatic theatrical troupes conducive towards the onset of national theatrical music is the greatest accomplishment of Bashkir music in the prerevolutionary period, which connected the pre-revolutionary epoch with the period of formation of national compositional schools.
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Sasi, Ashwini. "Redefining: Cultural Impression in Princely States During Colonial Period." Resourceedings 1, no. 2 (November 27, 2018): 88. http://dx.doi.org/10.21625/resourceedings.v1i2.325.
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India is well diverse with a variety of cultural and traditional practices. Impact of age-old practices redefined the idea of culture and tradition, not only as a hereditary system, but also as part of art and architecture. Factors such as the cultural changes between North and South India, impact of the British, changes in spatial organization and patriarchy and matrilineal system drew an impact on cultural impression of India through time.
Palaces (04th —18th century) and the lifestyle of the heirs, being a soul example to exhibit the Indian uniqueness, gradually inclined towards British culture and morals. This influence brought a change in the architectural design of palaces, which is the core study area in the thesis.
Comparing the architectural planning of palaces from the 13th to the 18th century showed a clear change on how British influenced Indian palace design. This became one of the finest reasons to identify cities with palaces based on their culture and tradition, and on art and architecture. In addition to finding how it has brought the influential change and what is the present scenario of the same palaces.
The architectures that were adopted in India was a form of true traditional architecture which is been followed through a very long time and hence it was collaborated with Italian, French, Indo Sarcenic or European style.
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Krysztopa-Czupryńska, Barbara. "Grodno w XVIII wieku w relacjach podróżników z Europy Zachodniej." Przegląd Wschodnioeuropejski 11, no. 1 (June 30, 2020): 33–44. http://dx.doi.org/10.31648/pw.5968.
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The article shows the transformation that Grodno underwent in the 18th century in the light of accounts of peregrinates from Western Europe. In the first half of the century, a provincial, uninteresting Lithuanian town reluctantly visited by Western European travelers, in the second half of the century gained significantly a power of attraction. To a large extent, the city owed its transformation to Lithuanian Court Treasurer Antoni Tyzenhauz, which the travelers emphasized unanimously. The change in the face of the city was also reflected in eighteenth-century Western European publications.
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Ette, Ottmar. "Magic Screens. Biombos, Namban Art, the Art of Globalization and Education between China, Japan, India, Spanish America and Europe in the 17th and 18th Centuries." European Review 24, no. 2 (April 18, 2016): 285–96. http://dx.doi.org/10.1017/s1062798715000630.
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Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an institution of excellent renown and prestige, and whose economic downfall and artistic marginalization was vividly described by the French traveller Paul Mancoy in 1837.2 While, during the 18th century, Cuzco school paintings were still much cherished and sought after, by the beginning of the following century the elite of Lima regarded them as behind the times and provincial, committed to an ‘indigenous’ painting style. The artists from up-country – such was the reproach – could not keep up with the modern forms of seeing and creating, as exemplified by European paragons. Yet, just how ‘provincial’, truly, was this art?
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Bevz, Mykola. "The wooden architectural complex of the city and royal residence of the John III Sobieski in Kukizów." Budownictwo i Architektura 18, no. 4 (March 20, 2020): 059–82. http://dx.doi.org/10.35784/bud-arch.710.
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The palace in Kukizów of King of Poland John III Sobieski is known only to a narrow group of architecture and art historians. The palace and park complex ceased to exist in the 19th century. The architecture of the palace is known especially from the descriptions in the inventory documents from the early 18th century. Although the authorship of the palace design belongs to the well-known artists of the era – Augustyn Wincenty Locci and Piotr Beber, its architecture has not yet been reconstructed. A specific feature of the royal residence in Kukizów was the construction of royal buildings and town buildings in a wooden material. The intention to create a city complex and an entirely wooden residence was a unique experiment in the field of European architecture and urban planning of the 17th century. In the paper we present the results of our research on the architecture of the palace and town for the end of the 17th century.
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Chassefière, Eric. "Obstacles encountered by four major European astronomical observatories belonging to academies in the 18th century." Journal for the History of Astronomy 52, no. 4 (November 2021): 414–41. http://dx.doi.org/10.1177/00218286211052194.
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It is known that, in the first half of the 18th century, the conditions for astronomy at the Imperial Observatory of St-Petersburg, directed by Joseph-Nicolas Delisle, were comparable to those enjoyed by astronomers at the royal observatories of Paris and Greenwich created in the previous century. But what about the public observatories created in the first half of the 18th century in Berlin, Uppsala and Bologna? The rich correspondence maintained by Joseph-Nicolas Delisle with the astronomers working in these observatories provides elements of an answer to this question. It also provides more precise information on Delisle’s working conditions at the St-Petersburg Observatory. In this article, we present a comparative analysis of the obstacles encountered by astronomers at these different observatories, and the particular contexts in which they operated, including a breakdown by observatory of salaries and expenditure on astronomy equipment.
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Luengo, Pedro. "Yuánmíng Yuán en el siglo XVIII: Arte entre la diplomacia y la filosofía; entre Europa y Pekín." Araucaria, no. 35 (2015): 193–216. http://dx.doi.org/10.12795/araucaria.2016.i35.10.
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Белянский, Д. В. "“The Poems of Ossian” in European Art: On the Origins of Danish Romanticism." Научный вестник Московской консерватории, no. 4(39) (December 7, 2019): 128–61. http://dx.doi.org/10.26176/mosconsv.2019.39.4.005.
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С тех пор, как во второй половине XVIII века шотландский поэт Джеймс Макферсон опубликовал «Поэмы Оссиана», этот литературный памятник оказывал огромное влияние на представителей всех видов искусств. Европейские писатели, поэты, художники, музыканты нередко воплощали «оссиановские» образы и сюжеты в своих произведениях. Это явление недостаточно освещено в российском искусствознании. В настоящей работе приводится подробный экскурс в историю «Поэм Оссиана» в европейском искусстве; в том числе, в связи с творчеством К. Д. Фридриха, Ф. О. Рунге, Ф. Шуберта, Ф. Мендельсона, Р. Шумана. Особое внимание уделяется оссиановским образам и сюжетам в творчестве датских мастеров— художника Н. Абильгора, выступившего главным «пропагандистом» Оссиана в Дании, и выдающегося датского композитора XIX века Н. Гаде, посвятившего Оссиану два значительных произведения— увертюру «Отзвуки Оссиана» и драматическую поэму (кантату) «Комала». Также в статье предпринята попытка выделить и обобщить приметы «оссиановского стиля» датских мастеров. Since the Scottish poet James Macpherson published “The Poems of Ossian” in the second half of the 18th century, this literary monument has had a tremendous impact on artists of all kinds of art. European writers, poets, artists, musicians often embodied the “ossianic” images and plots in their works. This phenomenon is not adequately covered in Russian art history. This work provides a detailed excursion into the history of “The Poems of Ossian” in European art; including in connection with the work of K. D. Friedrich, F. O. Runge, F. Schubert, F. Mendelssohn, R. Schumann. Particular attention is paid to “ossianic” images and plots in the works of Danish masters— the artist N. Abildgaard, who acted as the main “propagandist” of Ossian in Denmark, and the outstanding Danish composer of the 19th century N. Gade, who devoted two significant works to Ossian— the overture “Efterklange af Ossian”, and the dramatic poem (cantata) “Comala”. The article also attempts to highlight and generalize the signs of the “ossianic style” of Danish masters.
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VAN SOEST, ROB W. M., and ALEXANDER PLOTKIN. "Alcyonium bursa Linnaeus, 1758 is not a sponge." Zootaxa 4951, no. 1 (April 1, 2021): 193–200. http://dx.doi.org/10.11646/zootaxa.4951.1.12.
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In the 10th edition of the Systema Naturae (Linnaeus, 1758), which is the starting point of the Code for Zoological Nomenclature (ICZN Art. 3), Linnaeus named three species of the genus Alcyonium, A. arboreum, A. digitatum, and A. bursa. The genus name Alcyonium was based on the 16th and 17th century pre-Linnaean use for a diversity of marine organisms, including cnidarians, sponges, bryozoans, and algae. In the first valid presentation of the genus name, Linnaeus narrowed this down to comprise two clear cnidarians (A. arboreum, currently Paragorgia arborea, and A. digitatum, still accepted under this name and subsequently assigned as type species), but the pre-Linnaean diversity perhaps explains why the third species, A. bursa, was not recognized as a cnidarian. Linnaeus defined it as ‘Alcyonium acaule pulposum subglobosum. Habitat in O. Europaea.’ (translated as: Alcyonium without stalk, fleshy, semiglobular. From the European Ocean).’ Attempts to fix its identity among contemporary authors at the end of the 18th and beginning of the 19th century followed a checkered course, with opinions varying from algae to tunicates and sponges.
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Pirogova, Elena P. "Western European editions in the manor library of the 18th-century Ural industrialist Alexei Turchaninov." Tekst. Kniga. Knigoizdanie, no. 28 (2022): 50–74. http://dx.doi.org/10.17223/23062061/28/4.
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Personal libraries occupy a special place in the structure of the cultural heritage of the past. The study of one of them - currently the largest noble library of the Urals of the 18th century - should be recognized as a serious research objective. The study became possible thanks to the discovery of a rare source - the Property Inventory, compiled in 1789 after the death of the Ural industrialist Alexei Turchaninov. A huge section of the Inventory is reserved for the library, almost a quarter of which (about a thousand volumes) is occupied by Western European publications, and the article aims to analyze the latter. The difficulty, and often impossibility, of identifying foreign books according to the Inventory is due to the fact that they are described not in the original language, but in Russian, with no imprint, briefly, with inaccurate reproduction of authors’ names and surnames. Therefore, it was possible to more or less reliably identify only a part of the books, while all of them were distributed according to linguistic characteristics and branches of knowledge. In total, 16 thematic sections are specified, each presented separately and in a summarizing table. The European publications on astronomy, physics and mechanics, mathematics, chemistry and mineralogy, natural science and medicine, which are not so typical for the noble library, are consistently considered, especially since among the books on this topic there was a lot of scientific and special literature. The maximum number of titles among foreign books was made up of books on chemistry and mineralogy, which speaks of the industrial interests of the library owner and his priorities in choosing foreign publications. The variety of literature on metallurgy, construction, mining, and industrial architecture is quite expected as part of the book collection of the Ural manufacturer. The humanitarian part of the library is rich in books on philosophy, politics and law; a historical section stands out: it ranks third in the number of titles and volumes. Modest in comparison with others, the section of literature of religious content still testifies to Turchaninov’s spiritual quest, his interest in the origin of Christianity and the history of religion. In general, the analysis of foreign books by the degree of reflection of their titles and by the number of volumes in thematic sections showed that books of two sections - on art and pedagogy - dominate in the library, which indicates a serious influence of the family and the owner’s enthusiasm for collecting (paintings, etc.) on completing his book collection. A general conclusion is made that, in terms of the composition of its foreign part, Turchaninov’s library is completely universal, that is, characteristic of the era, but at the same time not typical of the noble book collections of that time; it shows a noticeable trend towards natural science and industrial literature. During the period defined by the term “Gallomania” and the predominance of French literature in the noble libraries, 85.7% of foreign books in Turchaninov’s library were in German, the language of science and scientific knowledge of the time.
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Agratina, Elena E. "THE EMERGENCE OF ART CRITICISM IN FRANCE IN THE SECOND HALF OF THE 17TH AND THE FIRST HALF OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2022): 146–64. http://dx.doi.org/10.28995/2073-6401-2022-3-146-164.
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The topic of the emergence of art criticism in France in the second half of the 17th and the first half of the 18th century, being rather widely covered in foreign academic literature, is still underdeveloped in Russian art history. Nevertheless, that issue is extremely important for understanding the processes that took place in the French and more widely in the European artistic milieu. The article aims to highlight the process of the criticism formation not only as a literary genre but primarily as a phenomenon of cultural life. Based on original written sources and foreign academic literature, the author traces how the appearance of fine art in the light of publicity was prepared in the Parisian artistic milieu. The author addresses the important questions that arose during the formative and legitimizing phase of criticism, such as its distinction from pre-existing art theory, as well as the distinction between the critic and the theorist or fine art historian. The artwork must now satisfy not only the master and the customer and a small circle of connoisseurs, society also becomes an active participant in artistic life, and the viewer enshrines the right to judge the art. The author shows how criticism is gradually becoming more diverse and polyphonic. Works written on behalf of a wide variety of characters are appearing, writers are adapting various literary genres that already exist: epistolary, diary, plays, poems, dialogues. For many years, criticism becomes an active channel of communication linking all participants in artistic life.
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Oleniak, M. "RENAISSANCE RESEARCH ON SIMILE (16TH–18TH CENTURIES)." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(95) (December 17, 2021): 138–50. http://dx.doi.org/10.35433/philology.2(95).2021.130-150.
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The article deals with the study of the concepts of simile in the Renaissance during the 16th –18th centuries in both Western and Eastern traditions. It outlines the transition from the classical fundamentals to their renaissance interpretation in the European specialized literature, the original texts of which became the subject of analysis. The correlation of terminology of different epochs is established and the dependence of scientific thought on the historical stage of society development is highlighted. It was found that because simile was regarded as a rhetorical figure, interest in it was limited to specific practical tasks related to the art of eloquence and, to a lesser extent, belles-lettres style. The functions of the described category, which were singled out by leading linguists, are stated as well as the most influential researchers who deepened the development of the basic principles of simile interpretation by classical rhetoricians. The article proves that the content, scope and hierarchy of terms for simile differ depending on the eras and the authors of rhetoric, reflecting the specifics of translation of ancient Greek and Latin texts, the development of linguistic thought and deepening the analysis of ancient Greeks and Romans. It is established that only at the end of the 18th century the English term "simile" was introduced as a descendant of a number of ambiguous, not always specialized terms (homoeosis, icon, paradigm, parabola, similitude, resemblance, comparison), often synonymous with one another.
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Bulatova, Svitlana. "THE SWEET TASTE OF A STRANGE CITY: GERMAN SPECIALTIES IN OLD POLISH COOKBOOKS OF THE 18TH CENTURY (ACCORDING TO THE MANUSCRIPT «ZBIÓR DLA KUCHMISTRZA TАК POTRAW JAKO CIAST ROBIENIA." Mìsto: ìstorìâ, kulʹtura, suspìlʹstvo, no. 7 (November 25, 2019): 85–96. http://dx.doi.org/10.15407/mics2019.07.085.
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The article focuses on the recipes for desserts found in an old Polish manuscript cookbook of the mid-18th century, which was part of the Potij-Lubomirskis private book collection. Based on these recipes, the article for the first time determines the peculiarities of speciality desserts originating from the German cities of Nuremberg and Lubeck. The evolution of the culinary art of the period was facilitated by the economic and trade links between German urbancentres, as well as the provision of easy access to imported ingredients, above all sugar. The examination of cooking instructions demonstrates that they closely followed common European, especially contemporary French, examples in the production of jams and baked goods. By the turn of the 18th century, the main technologies of confectionary making came from specialised cookbooks by French authors. The analysis of the manuscript and printed sources makesit possible to identify the perceived curative qualities of desserts and their ingredients and the role of sugar-based confectionaries in defining the social status of not only German but also old Polish elites. At the same time, the article considers the characteristics of old Polish desserts (the so-called ‘wety’), as well as tableware and cutlery served at the table during the Baroque period
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López-Souto, Noelia. "Aesthetics, economy and printing in the eighteenth century: the catalogue of Giambattista Bodoni and his patron José Nicolás de Azara." Culture & History Digital Journal 11, no. 1 (June 21, 2022): e011. http://dx.doi.org/10.3989/chdj.2022.011.
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This article addresses and documents the influence of the economic variable on the production of one of the most outstanding typographers in the history of the book, Giambattista Bodoni, who was famous for his books to the 18th century European bibliophile elite. Three main financing channels are distinguished in his catalog, resulting various types of editions, and this perspective of analysis shows the relevance of the Spanish patron José Nicolás de Azara in Bodoni’s work. But Azara did not only leave his mark on Bodoni’s catalog by promoting bibliographic projects; also by advising the typographer to achieve examples of the beautiful book, which should balance in his opinion its functionality with its aesthetic waste, that was always directly proportional to the economic cost. As a conclusion, the article confirms the prominence of patronage -especially Azara’s- even in Bodoni’s art of printing along the transition from the Eighteenth to the Nineteenth century.
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Saratovskaya, Larisa. "South African literature in Russia." African Research & Documentation 58 (1992): 11–15. http://dx.doi.org/10.1017/s0305862x00012577.
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The African continent and South Africa in particular have always interested Russians. It may be interesting to note that as early as the 18th century the Russian tzar and reformist Peter 1st, ordered the compilation of a description of Africa, which was made in 1710 in Moscow. In the 18th and especially in the 19th centuries there were many Russian sailors and explorers who went as far as the Cape of Good Hope. Among them was a famous Russian writer and sailor Ivan Goncharov who spent two months in South Africa in 1853 and devoted more than 150 pages of his travelling book “Frigate Pallada” to the description of the lives of different racial groups there. This progressive Russian writer paid special attention to the fight of African people against the European colonisers. Another Russian explorer and art-critic A. Visheslavzev was also in South Africa in the 1850s and in his diary expressed his sympathy with the African chiefs, who led the black tribes against the conquerors.
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Zavyalova, Anna E. "Jaspar de Isaac’s Engraving “Narcissus”: On the Sources of Konstantin Somov’s Early Art." Observatory of Culture 17, no. 2 (June 30, 2020): 164–72. http://dx.doi.org/10.25281/2072-3156-2020-17-2-164-172.
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The article reveals and introduces into scientific circulation the previously unknown artistic source of Konstantin Andreyevich Somov’s early art – Jaspar de Isaac’s engraving “Narcissus”. There is traced the course of work with this one along with other art sources (works of European masters of the 16th—18th centuries depicting hunting scenes, paintings by Antoine Watteau, Jugendstil graphics), revealed the context of reference to it, and analyzed the stylistic features of including this source in Somov’s work on the watercolor “Rest after a Walk”. These tasks are addressed in the context of the role of artistic sources from the heritage of past eras in early works of Konstantin Somov. The topic’s relevance is determined by the fact that Jaspar de Isaac’s engraving “Narcissus”, made at the very beginning of the 17th century for a French edition of the “Imagines” by Philostratus the Elder, for the first time becomes the object of research as a source of Somov’s art. The scientific novelty of the work lies in the fact that for the first time it attempts to identify (basing on a combination of formal and contextual analysis), and to use a source from the artistic heritage of France of the beginning of the 17th century in the work of K. Somov on the themes of the 18th century. The reveal of the source — the engraving “Narcissus” by J. de Isaac — made it possible to reconstruct the artist’s work on the “Rest after a Walk”. The article examines not only the sketch for this work from the collections of the Pushkin State Museum of Fine Arts, but also the drawing “A Date” from the State Tretyakov Gallery. There is stated that it is a preparatory drawing for the watercolor “Rest after a Walk”, basing on the general iconography of the watercolor, sketch and engraving “Narcissus”. The author concludes that Somov’s appeal to the engraving by J. de Isaac was not conscious, it should be attributed to the phenomenon of artistic memory, and his probable acquaintance with it had taken place before the artist left for Paris in the autumn of 1897.
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Borovkova, Natalia V., Anastasiya R. Pilipenko, and Mar’ya N. Yakimaha. "From England to Russia: Fluorite Vases from the Second Half of the 18th — Beginning of the 19th Centuries." Vestnik of Saint Petersburg University. Arts 12, no. 2 (2022): 380–95. http://dx.doi.org/10.21638/spbu15.2022.208.
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The article explores English stone-cutting products of the 18th century from Blue John fluorite. The objects of research are items from the Mining Museum collection. The authors have identified a wide range of analogues from various collections of Russian and European museums, auction houses. The article considers the history of the development of stone-cutting production from Blue John fluorite; possible stone-cutting workshops have been identified. In the study determined the technical and technological features of the manufacture of fluorite products in England at the end of the 18th century. The article deals with issues of attribution and reconstruction of museum items using 3D-visualization. The technical and technological features of fluorite processing and the technology for producing art objects was clarified thanks to the involvement of the laboratory base of the Center for Collective Use of the Mining University. A chemical study was carried out on samples of the substance used to stabilize the stone material of objects. On the basis a wide visual range the appearance of the destroyed vases was restored using 3D-technologies and the places of loss in objects from the Mining Museum were supplemented. The use of modern technological innovations made it possible to restore the appearance of monuments with unsatisfactory preservation and include objects of the 18th century. into scientific circulation. A significant corpus of archival documents has been revealed, giving an idea of the sources and methods of entry of items from English fluorite into the collection of the Mining Museum. The results obtained allowed us to change the idea of the formation of the collection of the Mining Museum; to supplement previously known information about the production of fluorite objects of arts and crafts in England.
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Bednarek, Magdalena. "Czar opowieści. Dylogie Catherynne M. Valente oraz Salmana Rushdiego w kontekście Księgi tysiąca i jednej nocy." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 183–205. http://dx.doi.org/10.14746/pspsl.2016.28.10.
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From the 18th century on Arabian Nights has been influencing European imaginary, especially culture and literature. It created European vision of the Orient as well. In the 20th century popular culture gave high recognisability to many elements of Arabian Nights (such as characters: Sindbad, Aladdin or magical artefacts: a flying carpet, magic lamp). Scheherazade as an allegory for narrative art became the most important figure for scholars studying the book. The paper shows how two contemporary book cycles make intertextual links to Arabian Nights . Orphan’s Tale by Catherynne M. Valente, Harun and the Sea of stories and Luka and the fire of Life by Salman Rushdie rewrite the elements of Arabian Nights , such as characters, artefacts and linguistic allusion to the Orient. However, the narration in the works by both writers is completely different: Valente recreated a sophisticated device of narration known from the book, whereas Rushdie gave his novels a simple, linear composition. Scheherazade’s gift to spin story out of a life is needed for different aims. For Rushdie telling fairy tales is useful in writing about life of literature itself, for Valente it is important for creating an alternative to the patriarchal vision of the world.
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Belov, Alexey V. "Cultural Environment of Moscow at the Turn of the 19th Сentury: Noble Theaters of the City. Main Types and Features of Operation." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 62–70. http://dx.doi.org/10.37816/2073-9567-2022-65-62-70.
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The paper examines the place and significance of the city`s noble manor theaters in the cultural environment of Moscow in the second half of the 18th – early 19th centuries. The priority attention of the study is drawn to the frontier of two centuries, since this historical stage was marked by a final rooting of the hitherto mostly alien Western European theater tradition in the Russian city (primarily metropolitan) society, which led to the further development of theatrical art as an integral part of national culture of Russia. Along with this, the last years of the 18th century became the peak of the manor theater as part of the urban cultural space of Moscow. The noble character of the “old” capital as well as the dense ring of “Moscow” — suburban estates, oriented in all aspects of their life to Moscow — contributed to this momentum. Based on the census of Moscow theaters conducted in the last years of the 18th century, the study provides characteristics of the main types of home stage groups, which are divided into a number of independent types, differing from each other in a degree of openness, main goals of existence, circle of participants and social component of their activities. The paper explains the features and goals of their functioning, analyzing such a phenomenon of the cultural life of Moscow of those years as “noble” performances and “noble” actors. The research also dwells on some of the most notable and characteristic creative groups, stage venues and stage ministers, presenting an assessment of the nature of their work. The author draws special attention to the importance of home city theaters and orchestras in the development of public theater art in the country, formation of the necessary creative personnel, appearance of new talented actors on the Moscow`s imperial stage, including those maintaining their dependent serfdom. The study concludes with an assessment of the subjective and objective reasons of the decay of manor theaters in Moscow and Russia, as well as their transformation on a new “commercial” basis in the first half of the 19th century.
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Polilova, Vera S. "The Poetics of the Carnation: The Word and the Image in Russian Poetry From Trediakovsky to Brodsky (In the Context of European Tradition). Part One." Imagologiya i komparativistika, no. 17 (2022): 7–36. http://dx.doi.org/10.17223/24099554/17/1.
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The research outlines the use of the word gvozdika (Eng. ‘carnation’, a species of Dianthus) in Russian poetry. The author takes the European tradition as a framework to describe and analyse diverse representations of the carnation in Russian, mainly poetic, texts of the 18th through 20th centuries, tracing the development and expansion of “carnation-driven” contexts and associations. Part One opens with a retrospective insight into the history of the carnation in European culture, debunking several popular misconceptions, related to the flower’s history and name, which had been uncritically repeated over many decades. The ubiquity of wild carnations has contributed to the belief that, like the rose and the lily, the carnation has a two-thousand-year cultural history. Thus, it might be assumed that the carnation’s beauty and spicy aroma should have set it apart from other flowers, so that it might gradually acquire various symbolic meanings. Indeed, researchers and writers have often noted the ancient symbolism of the carnation. Moreover, both popular and academic writings place the carnation in the limited and well-defined set of plants cultivated in Antiquity. The research into the historical significance of the carnation shows that its oft-postulated antiquity is nothing but wishful thinking: the cultural history of the carnation as well as its symbolic meanings cannot be traced back as a single process from Antiquity to the Present. Until the 14th century, the carnation was referred to by many different names; its literary and symbolic genealogy can only be traced back to the 15 th or 16th century, i.e. when it was introduced into horticulture and when stable designations for it appeared in the new European languages. Our analysis draws on comparative material from Spanish, Italian, French, German, and English poetry (poems by Luis de Gongora y Argote, Francisco de Quevedo, Joachim du Bellay, Remy Belleau, Pierre de Ronsard, and others) and employs numerous multilingual sources to shed light on the history of the carnation in European languages and literatures. In addition, we briefly trace the horticultural history of the carnation in Russia. The garden carnation, or the clove pink, has been known in Russia at least since the 17th century. It was among the plants bought in Holland by the Flower Office of Peter the Great. In the 18th century, the carnation was already widespread in Russian gardens: numerous detailed articles about the carnation, its varieties and cultivations are found in botanical directories and various indexes of the late 18th century. The Alphabetical Catalogue of Plants <...> in Moscow in the Garden of the Active State Councillor Prokofy Demidov, published in 1786, lists 52 varieties of the carnation. Yet, however popular the carnation was in everyday life, it rarely appeared in Russian literature of the 17th and 18th centuries.
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De Winter, Wim. "European perceptions of religion and society in 18th-century China & Bengal, and their subverted gaze in local art and encounter." Religion 50, no. 2 (January 13, 2020): 278–98. http://dx.doi.org/10.1080/0048721x.2020.1713518.
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Negoi, Ana Maria Roman. "The Europeana Collections – Transylvanian Prints from the Collections of the National Museum of the Union from Alba Iulia." International Journal of Advanced Statistics and IT&C for Economics and Life Sciences 9, no. 1 (June 1, 2019): 31–40. http://dx.doi.org/10.2478/ijasitels-2019-0004.
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AbstractThe Europeana Collections, inaugurated in 2008, represents the completion of an ambitious project intended to be a journey and an instrument for the access to the culture, the history and the identity of the Europeans. Nowadays, Europeana contains in its collections more than 58 million digital units, organized on domains and themes, from art works, artefacts and books to movies and music. The patrimony of the Europeana enriches yearly and constantly by the contribution of the European Member States, as response to the common aspiration to open the access to knowledge beyond the national or territorial borders. The Europeana Project represents the implementation by digitization of a set of standards and of a unitary approach on the valorisation by digitization of the patrimony of the European states. The country reports reflect the most accurate the measures and the achievements of each contributing state to Europeana. Therefore, the Romanian report – a document updated in January 2019 – presents punctually the achievements of our country and of the Romanian institutions contributing to the enrichment of the Europeana collections. The list of the contributors contains, next to the names of well-known libraries, the name of the National Museum of the Union from Alba Iulia, with 986 digital units. Related to the field of the prints, the National Museum of the Union is not a direct contributor, but its collections are uploaded by other contributors. The National Museum of the Union has a remarkable and extremely valuable collection of Transylvanian books, mainly printed in Cluj during the 18th century. There are 78 titles with a preponderantly religious, juridical and educational content, representing an important segment of the national cultural heritage. The present paper aims to approach the above mentioned works and to identify them in the Europeana collections.
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Acostová, Anna. "Development of the garden design of 18th century in Sankt Petersburg and comparison with main European patterns." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 55, no. 1 (2007): 185–94. http://dx.doi.org/10.11118/actaun200755010185.
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The 18th century was the period when the Russian empire started to open to the western culture. The economic and cultural development of this country started after the reforms of the emperor Petr I. Large number of the imperial palaces where built after the foundation of Santk Petersburg in 1703. Peter I was a big admirer of the western culture, his knowledge about it increased during two visits through Europe. Therefore, the formal gardens and baroque palaces built during the reign of Peter the Great are called Peter’s baroque.Until 1715 were all Russian gardens influenced by the Holland pattern like the palaces built by William of Orange in Holland – Het Loo and in England part of the Hampton Court. The first garden laid out in formal style in Sankt Petersburg was the Summer Garden – located in the architectural heart of the city. Gardens of this period were characteristic by small closed ground plan surrounded by water canals, an absence of using terrace as a symbol of majesty and highest point of view and finally by modest architecture. After the second visit of Peter I to Europe, he started to use all principles of the French formal gardens based on Andre Le Notre work. Palaces like Petrodvorets, Strelna and residence of first minister Alexander Menshikov in Oranienbaum were laid out on a natural terrace overlooking the Gulf of Finland. During the reign Elizabeth Petrovna started a huge expansion of palaces Petrodvorets, Hermitage and Tsarskoe Selo by the Italian architect Francisco Bartolomeo Rastrelli, whose combinations of rich ornaments, soft unusual colours and white columns are symbol of Russian baroque of the middle of 18th century. Moreover, F. B. Rastrelli also rebuilt some garden pavilions giving a new dimension of composition between buildings and garden. His sense of buildings soft colours in contras to the dark colours of north nature was very important and helped to improve Russian garden design of this time.After the start of reign Catherine II in 1761 begun new period of architectural style – Classicism and English Landscape School. At first was rebuilt a part of the formal gardens in Tsarskoe Selo for which was used the composition of the famous Stowe Park as a pattern. Others built landscape parks were Pavlovsk, Gatchina and Alexandrowski Park. In the process of creating those imperial residences were used principles of the work of William Kent, with antique temples, also Lancelot Brown’s famous nature scenery. Moreover, the compositions of landscape parks are good examples of oriental and neo-gothic pavilions. Russian formal gardens and landscape parks are inseparable part of European art in 17th and 18th century. They composition content basic characteristic of French baroque and English landscape school together with different elements originated as a adaptation to the specific climatic conditions of this region.
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Malawski, Seweryn. "The style of ‘regular irregularities’ – rococo gardens and their reception in Polish garden art of the 18th century." Roczniki Humanistyczne 67, no. 4 (July 4, 2019): 61. http://dx.doi.org/10.18290/rh.2019.67.4-3.
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The stylish difference of the Rococo in the garden art is still the topic of the researchers’ discussion. The Rococo, which was in opposition to the formal and rhetorical art of the Baroque, brought a new value to the eighteenth-century gardens. This value was expressed primarily in the elements of the composition, asymmetry, irregularity, wavy line, fragmentation of form and ornamentation, as well as in relation to nature and specific mood.France is considered to be the fatherland of the Rococo style, from where this new, light style has spread to other European countries. The dissemination of new ideas was favored by print theoretical dissertations and collections of projects. The works by authors such as L. Liger, J-F. Blondel, J-B-A. le Blond, F. de Cuvilliés, M-A. Laugier, G-L. Le Rouge, W. Chambers, S. Switzer and B. Langley enjoyed particular popularity.Many impressive gardens with Rococo features were created especially in Germany and Poland. Their special flourishing in Poland fell on the times of the Polish-Saxon Union, and especially during the reign of Augusts III in the years 1733-1763.Special attention should be paid to the projects related to the patronage of the first minister H. Brühl. Rococo features can be found in several of his gardens, such as garden at Nowy Świat in Warsaw, garden in Wola, the unfinished garden project for the former Sanguszko palace or a garden in Brody (Pförten). Rococo compositions were also created in the gardens of Prince Adam Poniński at Żyzna street in Warsaw and in Górce. In 1966, the concept of a magnificent royal garden at the Ujazdów Castle was created. Noteworthy is also the arrangement of gardens in Puławy from the times of Zofia and August Czartoryski as well as Flemming in Terespol. The designers of many Polish gardens of that period were Saxon architects, such as: J.D. von Jauch, J.F. Knöbel, C.F. Pöppelmann, E. Schröger or J.Ch. Knöffel. From the 1770s, Rococo creations in Poland began to give way to landscape concepts.
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Gryaznova, Nadezhda. "Seams of borders and networks of cities: Russia in the late 18th century." проект байкал 19, no. 74 (January 5, 2023): 143–54. http://dx.doi.org/10.51461/pb.74.24.
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Using an extensive archival, memorial and historical material, the article describes the processes that took place in the late 18th century in the organization of the Russian Empire through the example of the changes in the territorial organization of the Tambov Province. The author analyzes the principles underlying these changes, as well as the boundaries of settlement territories and, in particular, cities. Russian and Western European cities are compared and different reasons for their emergence and the political motives of their changes are emphasized.